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By David Irving. (2017) Directed by Dr HAYWARD, JULIANNA MARTIN, D.M.A. An Exploration of Four Songs for Soprano, Horn, and Piano (1990) by David Irving. (2017) Directed by Dr. Joseph DiPiazza. 174pp. The purpose of this study is to bring attention to the life and music of David Gerow Irving, in particular, his Four Songs for Soprano, Horn, and Piano, composed in 1990. As no previous academic writing has been committed to this subject matter, the study includes an introduction to the life and career of David Irving as well as an overview of his compositional techniques. Chapter 2 includes biographical information about his life in general, his career as a horn player, and his journey to composition. Chapter 3 gives a detailed description of his progression from student to composer. Chapter 4 provides an overview of some of his characteristic compositional tendencies found in a number of his compositions with examples. Chapter 5 focuses on the history and process in composition of the Four Songs for Soprano, Horn, and Piano, including a detailed analysis of each of the songs with comments from the composer. The appendices include a full score of the Four Songs for Soprano, Horn, and Piano, full list of works by David Irving, a written interview with the author, and permissions granted for the use of his correspondence with the author as well as the inclusion of his self-published works. AN EXPLORATION OF FOUR SONGS FOR SOPRANO, HORN, AND PIANO (1990) BY DAVID IRVING by Julianna Martin Hayward A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2017 Approved by _____________________________ Committee Chair APPROVAL PAGE This dissertation written by JULIANNA MARTIN HAYWARD has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair.__________________________________ Committee Members.__________________________________ __________________________________ ____________________________ Date of Acceptance by Committee __________________________ Date of Final Oral Examination ii ACKNOWLEDGEMENTS I am grateful to David Gerow Irving for his generous help for many months with this dissertation process. From my first correspondence with him about obtaining a copy of the Four Songs for Soprano, Horn and Piano to our meeting and discussion in person about his career, compositions and life, he has provided a wealth of material in answering my questions and observations. Sincere appreciation also goes to three professors in particular. Mr. David Lehman (Bob Jones University) for helping me realize my musical potential, Dr. Douglas Weeks (Converse College) for encouraging me to continue learning, and Dr. Joseph DiPiazza (University of North Carolina Greensboro) for being the steady support I needed to complete the DMA. Special thanks to Dr. DiPiazza for his direction and leadership as my committee chairperson. I can only hope to be as generous in my future career. Many thanks are owed to my family and friends. Without my sister, Joy Martin Cox, and her introduction to repertoire for piano, horn and soprano, there would have been no inspiration for this dissertation. She is an accomplished horn player, fantastic chamber partner, knowledgeable colleague, and my best friend. To my parents and my late grandmother, as they are exceedingly proud of me and excited for me to complete the degree. Also to my husband, who has listened to many hours of my ‘musings’ and offered his long-suffering love and support. iii TABLE OF CONTENTS Page LIST OF EXAMPLES ....................................................................................................... vi LIST OF FIGURES ........................................................................................................... ix CHAPTER I. INTRODUCTION .................................................................................................1 Need for Study .............................................................................................5 Method .........................................................................................................7 II. THE LIFE OF MUSICIAN AND COMPOSER DAVID IRVING ......................8 Introduction to the Horn...............................................................................9 Life as a Horn Player .................................................................................12 Return to Schooling ...................................................................................17 Career as a Composer ................................................................................19 Hiatus from Composing .............................................................................24 III. COMPOSITIONAL HISTORY AND INFLUENCES .......................................27 Becoming a Composer ...............................................................................29 Composition Studies and the use of the 12-tone Method ..........................32 Contending with Modern Music in the Late 20th Century .........................35 Development of a Personal Style ...............................................................40 IV. COMPOSITIONAL TECHNIQUES AND DISTINGUISHING STYLE CHARACTERISTICS ......................................................................42 Compositional Techniques.........................................................................42 General Style Characteristics .....................................................................58 V. CONTEXT AND ANALYSIS OF THE FOUR SONGS FOR SOPRANO, HORN, AND PIANO (1990) .........................................................................69 Composition of Four Songs for Soprano, Horn, and Piano .......................72 Analysis of the Four Songs ........................................................................78 Grieg Being Dead ..........................................................................78 There is a Morn by Men Unseen ....................................................96 iv Song..............................................................................................105 A Clear Midnight .........................................................................113 VI. CONCLUSIONS AND RECOMMENDATIONS ............................................123 Recommendation for Further Study.........................................................124 BIBLIOGRAPHY ............................................................................................................126 APPENDIX A. COMPLETE SCORE OF FOUR SONGS FOR SOPRANO, HORN, AND PIANO .......................................................................130 APPENDIX B. LIST OF WORKS AND COMPOSITION DATES COMPILED BY DAVID IRVING ...................................................158 APPENDIX C. PERMISSION LETTER TO THE AUTHOR ........................................162 APPENDIX D. WRITTEN INTERVIEW WITH DAVID IRVING – 10/31/2016 ........................................................................................163 v LIST OF EXAMPLES Page Example 1. David Irving, Clouds, mm. 1-27 .....................................................................45 Example 2. David Irving, Morning (Three Emily Dickinson Songs), mm. 1-6 .................46 Example 3. David Irving, I Dwell in Possibility (Three Emily Dickinson Songs), mm. 1-75 ....................................................................................................47 Example 4. David Irving, Spectra 2 for Horn and Piano, II. Lento, mm. 1-6 ..................48 Example 5. David Irving, A Little Madness in the Spring (Three Emily Dickinson Songs), mm. 69-71 ....................................................................48 Example 6. David Irving, Song (Four Songs for Soprano, Horn, and Piano), mm. 26-28 ..................................................................................................48 Example 7. David Irving, Song, mm. 25-29 ......................................................................49 Example 8. David Irving, Shall I Compare Thee to a Summer’s Day (Four Songs from Shakespeare), mm. 20-23 ..................................................................50 Example 9. David Irving, A Clear Midnight (Four Songs for Soprano, Horn, and Piano), mm. 13-21 .....................................................................................51 Example 10. David Irving, A Little Madness in the Spring, mm. 1-14 .............................53 Example 11. David Irving, Spectra for Piano, II. Andante, mm. 14-19............................54 Example 12. David Irving, Ave Maria, mm. 1-11 .............................................................55 Example 13. David Irving, Flowers of Paradise, mm. 1-6................................................56 Example 14. Vincent Persichetti, Twentieth Century Harmony: Creative Aspects and Practice, “Cadential Devices,” pg. 208-209 .........................60 Example 15. David Irving, A Little Madness in the Spring, mm. 53-59 ...........................63 Example 16. David Irving, Grieg Being Dead (Four Songs for Soprano, Horn, and Piano), mm. 13-27 ...................................................................63 vi Example 17. David Irving, Spectra 2 for Horn and Piano, II. Lento, mm. 61-71 .................................................................................................64 Example 18. David Irving, Clouds, mm. 39-57 .................................................................65
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